01. S`ambhu Svayambhu Harayooh harin`eekshan`aanaanam
Yeenaah kriyanti satatam gruha karma daasaha
Vaacaam agoocara caritra vicitra kaayaah
Tasmai namoo bhagavatee Makaradhwajaayaha.
Here, the poet salutes the Cupid (the God of Love). The poet praises the greatness of Cupid by quoting how the trinity of Gods have been influenced by him.
The Creator (Brahma, here referred to as Svayambhu) wears his concert, the Goddess of Learning (Sarasvati) on his tongue.
The Protector (Vishn`u, here referred to as Hari) wears his concert the Goddess of Wealth (Lakshmi) on his chest.
The Destroyer (S`iva, here referred to as S`ambhu) bears the Goddess of Power (Parvati) on the left half of his body.
All the three Gods thus function as the servants of their spouses.
REM: Firstly, whether we believe in any Gods or not, Hindu Gods or not, we can appreciate the beauty of expression of the verses. Secondly, we can also observe that there is not much gender inequality among Hindu Gods and Goddesses. Thirdly, the poet very clearly recognises the greatness of the Cupid and the mutual attachment of genders.
02. Smiteena bhaaveena lajjayaah gun`aihi
Paraangmukhaih artha kat`aaksha viikshan`aiah
Vacoobhir iirshyaa kalaheena liilayaaha
Samasta bhaavaih khalu bandhanam striyaha.
Women tie down their lovers through smells, expressions, modesty, pretention of inattentiveness, askant looks, dialogues, jealosy, petty quarrels, tantrums and numerous other postures and gestures.
03. Bhruu caaturyaat kuncitaaha kat`aakshaaha,
Snigdhaa vacoo lajjitaantaascha haasaaha,
Liilaa mandam prasthitam ca sthitam ca,
Striin`aam eetat bhuushan`am ca, aayudham ca.
The poet calls the women’s gestures both as ornaments and weapons. He lists out the gestures: 1. Slightly bending the brows and looking from the edges of the eyes. 2. Friendly and affectionate talk. 3. Hesitant and modest smiles. 4. Slow elegant movement.
04. Kvacit sa bhruu bhagamgaih, kvacit api ca lajjaa parigataih,kvacit bhiiti trasaih,
”etaIls of the rays of light flowing from the love-full eyes of women. REM: The love making in that ancient age was not just for sexual gratification. The unification of bodies for the purpose of procreation was considered sacred and it was the culmination. Before that men and women go through emotions. The change of emotional state from “normal” to “seeking love and union” is called Uddiipanam. This inspiration has four stages: 1. Characteristics. 2. gestures of ecstasy. 3. apparels and costumes. 4. Neutralisation. In this verse, gestures of ecstasy have been explained.
05. Vaktram candrahaasi, pankaja parihaasa loocanee,
Varn`aha svarn`am apaakarishn`u,
kalin`ii jishn`u kacaanaam ca cayaha,
Vakshoojaa nibha kumbha vikrama harau,
gurvi nitamba sthalii,
Vacaam ca haari ca maardavam,
yuvatishu svaabhaavikam mand`anam.
The poet describes the ornaments which women inherit by birth. 1. Face resembling full moon 2. Eyes resembling the petals of lotus. 3. Complexion glowing brighter than gold. 4. Strands of hair resembling butterflies 5. Breasts resembling the forehead of a female elephant. 6. Heavy hips. 7. Smooth and sweet words.